This week, Avon publishes Ashes to Ashes, the sixth novel in one of my very favourite crime series – the DI Mark Heckenburg books by Paul Finch. My review is on the way (the book was my holiday companion in Italy last week) but in the meantime I’m delighted to host a Blog Tour guest post from Paul Finch on the intriguing subject of ‘What seven things should you know if you want to write crime fiction?’. It is a brilliant post!
Before that, here’s a little of what Ashes to Ashes is about:
John Sagan is a forgettable man. You could pass him in the street and not realise he’s there. But then, that’s why he’s so dangerous.
A torturer for hire, Sagan has terrorised – and mutilated – countless victims. And now he’s on the move. DS Mark ‘Heck’ Heckenburg must chase the trail, even when it leads him to his hometown of Bradburn – a place he never thought he’d set foot in again.
But Sagan isn’t the only problem. Bradburn is being terrorised by a lone killer who burns his victims to death. And with the victims chosen at random, no-one knows who will be next. Least of all Heck…
What seven things should you know if you want to write crime fiction?
Well, it’s an interesting question, and certainly one I haven’t been asked before. Off the top of my head, I can think of seven things it might be useful for you to know. I wouldn’t say that these are the seven most important things, but it probably wouldn’t do you any harm to be forearmed, as they say. So here we go…
Guilt goes with the territory
This may seem a curious thing to say, but it reflects reality. By its nature, crime and thriller writing deals with the darker end of the human experience. It won’t just be routine wickedness you are exploring. Whether your lead characters are heroes or villains, they’ll be dicing with danger, skating along the edge of the abyss, doing all kinds of things that law-abiding citizens in normal life never would. Now, if you want your writing to be authentic, you’ve got to go the extra mile to ensure that you get the facts of these matters correct. That will entail lots of online research into areas you wouldn’t usually go anywhere near, such as the formation and organisation of criminal empires, the methods and modus operandi of serial killers, the anatomies of the world’s most successful bank robberies and/or assassination plots, the use and availability of illegal firearms, the impact upon human bodies of poison, nerve gas, biological weaponry, the formation of police investigation teams and the emergency procedures they follow, the complexities of drugs-trafficking, the risk and probability of terrorist attacks, the depth and breadth of those security shields that protect western cities against such catastrophic threats.
All of this is going to make fascinating reading, of course, for a security expert should he/she ever have call to examine your online activity. You will have the excuse that you’re a crime writer and that it’s all part of the game, but that doesn’t mean you won’t feel a tad nervous when you’re indulging in it.
You’ll be challenged on facts
Never has the phrase ‘facts matter’ been more relevant than it is to the average crime/thriller writer. One of the most basic problems you have as an author in this field is that you’re straying into a fascinating, complex world which also, rather inconveniently, happens to be real. So, for example, you may be delving into law enforcement with all the procedures, protocols and legalities inherent to that. If you think that’s tough, you may also find yourself concerned with military matters, or security issues involving international law, the intelligence services and/or spec ops deployment. Medical and forensics questions will almost certainly arise; you may need to discuss weapons, explosives and the like. But the real problem is that you’ll likely encounter real-life people who have expertise in these fields, and if you get things wrong, they may well call you to account – sometimes in public.
While it’s not incumbent on you to become a guru in these matters, it would certainly help if you did some basic research. Whatever you do, don’t wing it.
(I will add that it won’t matter quite so much with the likes of MI6 and/or the SAS, as they’ll never comment anyway, and almost certainly will be delighted if you spread misinformation about their techniques).
You can chat to those who know
Library and internet research may help you factually, but it’s often a dry process and is unlikely to hit you from left-field with cool new ideas. In contrast, speaking to someone who’s actually done unusual things in his/her life can be much more fruitful. And the good thing is, with the exception of those ultra-secret organisations I mention above, most members of the security services are happy to chat about it, though they only tend to do so if approached … so don’t feel awkward about trying to pick their brains.
Police officers or ex-police officers are particularly good in this regard. I have a slight advantage here as an ex-copper, in that they may feel they can trust me more with the really juicy stuff, but I’d be surprised if the majority weren’t willing to have a chat with any writer. There may be certain areas they won’t go if they don’t already know you, but on the whole I think they’ll be willing to talk widely and informatively about their job. Never make the assumption that they’ll think you’re silly. They won’t. Many coppers I know also read crime fiction, while others would like to write – to immortalize their own exploits – but can’t, and so become very protective of writers they form relationships with, as they see that as the next best thing.
It is not a solitary profession
The semi-mythical image of the writer slugging on alone in his/her attic, virtually penniless and with no one to call a friend, particularly does NOT apply to the crime/thriller writer. I mean, I can’t comment on the ‘penniless’ bit – that all depends on your personal circs, but you DO have friends.
In all the literary fields, I’ve never known anywhere where the networking between practitioners is quite as vibrant as it is in crime and thrillers. There are literally hundreds of authors writing this material at professional level, both at home and overseas, and they’re all doing exactly the same things you are: hammering away at their keyboards, proof-reading, flipping through websites on the research trail, chatting things over with their agents and editors – and not always to their personal satisfaction. More importantly, thanks to the internet, most of these men and women are now connected. There are all kinds of online crime-writer clubs you can join, places where friendships are made, experiences aired and info shared (and info about which publisher has a new slot available, or which editor is looking for what can be very useful indeed). This is a great way to relieve pressure, because it shows that you aren’t the only person struggling with writer’s block, or character development, or just with the sheer physical effort of trying to finish a full-length novel. Likewise, there are many crime fiction conventions and festivals you can attend, and crime-writing societies you can join. A burden shared is a burden halved and all that, on top of which a lively social life, especially when it’s crammed with folk who all share the same interest, can only improve your quality of life.
Readers can take as much as you can give them
Don’t be lulled into thinking that, just because certain subgenres within the overarching genre of crime writing are cosier than others – a good example being the ‘village green murder mystery’ – you have to handle your readers with kid gloves. In short, it’s quite the opposite.
One of the best examples of village green-style crime fiction in the modern day is the TV series, Midsomer Murders, and look at the body-counts in that, not to mention the various methods of dispatch. We’ve seen people killed with farm-tools, sliced, diced, decapitated, churned up by combine harvesters. One poor chap was beaten to death with cricket balls fired at him out of a batting machine. Crime readers, whatever style they prefer, are generally speaking a ghoulish bunch, who are here to enjoy a dalliance with the darkness. So, don’t hold back. As long as you don’t deal with death in juvenile fashion, you can, on the whole, pile on the grimness and violence. I mean, personally I’m a great believer in less being more, but I don’t think you can pussy-foot around the subject of murder, especially in this modern age when ‘true crime’ is so popular – and there ain’t nothing gorier than ‘true crime’.
So, if you feel you need to lay it on, don’t worry about the sensibilities of your readers. Lay it on.
Crime writing is a very broad church
So many people who don’t read crime/thriller fiction have complete misconceptions about it. They immediately think Agatha Christie and the traditional English whodunnit. That is undeniably there and is very popular. Sidney Chambers, the crime-fighting village vicar of James Runcie’s Grantchester Mysteries, still embodies something of that atmosphere, and his adventures sell widely. But there are other fields too. Our fictional crime-fighters, like crime-fighters in real life, vary across the spectrum – from sticklers for procedure and crusaders of correctness to embittered louts who are never any better than they need to be and subsequently walk tightropes through a world of crime and sleaze. It doesn’t even stop there; often we use hardboiled PIs as our models, the smart-mouthed heroes created by James Crumley, Mickey Spillane and Raymond Chandler, who are no strangers to the seediest worlds imaginable and will play by any rules to win. Sometimes the villains themselves are our central characters. The violent gangland thrillers of Ted Lewis, Malcolm Mackay and Howard Linskey perfectly exemplify this.
So there you have it; we range from those quintessential leafy villages in the heart of Middle England to urban hells populated by addicts, prostitutes, contract killers and corrupt politicians.
Oh yes, we’ve got it all. Feel free to explore at random.
There is no requirement to write on the side of good
As I intimated in earlier paragraphs, we are not, as authors, bound by real-world morality.
For my money, one of the best crime thrillers ever written is Jack’s Return Home by Ted Lewis, which was published in 1970 but filmed in 1971, perhaps more famously, as Get Carter. It tells the tale of a mobster from the North of England who makes good in London, but when his brother is murdered back home, gets on a train in a quest for gangland justice. What follows is a brutal, gritty noir filled with anger and darkness, and in the character of Jack Carter, it gives us an amoral and uncompromising hero, a cold-blooded hardman who is only different from the evil hoodlums he finds himself gunning for because his personal code of ethics is marginally more admirable than theirs.
But hey, this again reflects reality. You’ve doubtless heard the phrase ‘it takes a wolf to catch a wolf’. Well, we crime authors mustn’t be ashamed of putting that into practice. Morally ambiguous heroes are often far more interesting than those goodie two-shoes of the old school. In any case, as I say… this is fiction, not real life, so it doesn’t matter anyway. If that’s what you want to do with your book, go for it.
I can’t thank Paul enough for such a wonderful, fascinating post!
For other stops on the tour, please take a look at the poster below.